Masuhr would like to illustrate the two basic devices of his work:

Sensuous Painting.

Portraits, flowers, landscapes need sensuous painting as well as paintings on love. It is not the topic of a painting that makes it sensuous but serene, sensual perception transferred carefully and consciously to the canvas with a breathing brush.

To release space in painting, reduce brushstrokes.

Blooming flowers can be depicted to a very high degree of abstraction without loosing the significance "flower" or "leaf". A coloured mark together with brushstrokes resembling leaves will always be sufficient to recall the image of a blossom. This state of suspense between objective and non-objective painting allows the representation of space with non-illusionist means.

The more consciously the painting will be organized, the more obviously space evolves causing a dynamic back and forth of its different components. "Empty" non-painted areas become part of the dynamics within the painting in their own right, releasing a "three-dimensional" arrangement of layers that cannot be explained with "description" or perspective.

The painting as "event" develops within itself. It is not brought about by naming, literary credits or other external references.